Pterygium – Concealing The Past CD Tesco Organisation 2018
The relatively new Australian project Pterygium have returned with their second full length album Concealing The Past, which follows the 2017 debut Grip (issued on a small cassette run on Algebra Of Need and reviewed here). Also of note, Pteryrium had a track on Tesco Organisation’s 2017 Projekt Neue Ordnung II 4xLP boxset, where Tesco has now subsequently issued this new and admittedly excellent sophomore album.
In noting the dual sonic approach of Grip, which functioned to blended minimalistic melodic tones with sharper distortion squalls, that approach has been both repeated and further honed here where the tonal range has been further refined and sonic depth amplified. As an album Concealing The Past is structured around nine distinct and individual pieces of between three and seven minutes each, which on the most part follow an understated melodic and minor keyed compositional framework. Being effectively an instrumental album, a variety of discreet sampled ethnic/ religious framed vocals provides an ethereal touch, as does the melancholic elements (such as piano lines, neo-orchestral strings etc.), which evokes a detached yet strongly emotive resonance (such as is immaculately displayed on A Vacant Regret). Yet there is still a willingness to let loose on select with heavy menacing drones and higher-toned noise squalls such as displayed on Entry_Exitpoint which has a raw tonal sharpness which perhaps is indicative of live in studio recording technique. A pair of late album tracks (Siphon Like Parasites & And Love Became A One Way Street) both balance on a knifes edge between the dual sonic approaches, on the one side featuring crude distortion blasts and choppy loops, which on the other are offset against bass addled drones and swelling sub-orchestral melodies.
Thematically Concealing The Past clearly fits within the broader post-industrial network, but to its credit does not sound in any way typical or derivative of a particular sub-genre. Rather, it draws extensively from various elements to create its own internalized sound and logic and is all the stronger for it, but for comparative sake the multi-faceted sound displayed by Prurient on Frozen Niagara Falls is perhaps a reasonable reference point.
Although some people continue to complain that the post-industrial music is broadly redundant for lack of new ideas and approaches, and further accused newer projects of being mere copyists of what has preceded, Pterygium is the effective antithesis of that opinion. Solo member Henry Gillet clearly understands the underground scene Pterygium operates within, but armed with a wealth of musical ideas he has creates a strong and individual sound which sidesteps being in any way derivative of genre confines of noise, industrial, dark ambient and power electronics. If the current and next generation of projects can match the creativity displayed on Concealing The Past, there is still much new ground to be explored and much to look forward to and be celebrated. A resounding recommendation from these quarters.
After the abstracted and minimalist Catacomb Resonator CD/LP from 2017, Arktau Eos have returned to a slightly more direct musical form, although this is clearly still within the enveloping ritual ambient framework for which the group is known and lauded. As is typical with this form of music, it’s structured around interlinking movements to aid flow and meditative/immersive impact; Erēmos features nine tracks, spanning 49 minutes of dour, slow evolving, minor-tuned melodies, droning soundscapes, and subtle field recordings.
The Liminal Pilgrim opens the album with swelling drones, catatonic drum pulse, and looped elements (sounding like twittering birds) which evokes a very organic and ritualistic sound, far from a computer-generated sounds palette, while a variety of other subtle layered sonic elements create diversity despite the minimalist ambient framework. After the extremely short one-and-a-half-minute track Facing The Exarchs Of Desolation, the following piece He Who Drinks The Light Of The Stars arrives with slow and sustained intertwining minor-keyed melody lines and pulsating synth tones, which further blend with various shimmering and metallic-toned ritual percussion. Autochthon is perhaps the most divergent piece by virtue of its swirling vortex of animated and surreally disorientating layers. Likewise, late album track In The Jaws Of Basalt Lions is a particular standout with its forceful droning framework, ascending/descending melodic line and sparse ritualistic percussion.
Of particular note on Erēmos is the archaic ritual- and occult-infused atmosphere embedded throughout, which is mostly derived from the deep analogue tone of the synthesizers. This generates a strong sense of mysterious and ethereal otherworldliness, but is also tinged with a strong degree of musicality in both sound and general direction, even if the instrumentation is atypical, such as a hand pump organ, archaic-toned synthesizers, and various ritual percussive implements. Although pretty much everything issued on the Aural Hypnox label constitutes mandatory listening for me, Erēmos is a pinnacle album which continues to reward with newly noted sonic details and nuances on repeat listens.
I am extremely proud to reveal the finalised cover of the Spectrum Compendium book!
After a couple of design options, in the end it was decide to go with a cover design both keeps and builds upon the feel and aesthetic of the original Spectrum Magazines, which to my mind has come out as a very strong and striking visual.
The book layout is still being worked on by the publisher, but evidently I will have a copy to proof and approve this month (October, 2018).
More details on publication date will be announced later when known but getting very close now!!!
Various Artists – Darkness Descends: a post-industrial compilation CDr Live Bait Recording Foundation 2018
This release was originally issued to coincide with the festival of the same name which was held in Cleveland on 16th June, 2018, but as the festival has now been and gone, the role of this compilation has now shifted to that of a commemorative release. Featuring exclusive tracks from the ten artists who performed at the festival, they effectively form a selection of some of the best American death industrial related projects.
Being already well familiar with the output of nine of the ten artists, despite the fact that they all operate within similar genre confines, it is positive to note that each of the tracks stand apart from each other and that the individual stylistic nuances of the featured various projects shine through. The only project I not heard before is the female duo Cunting Daughters, whose piece of obtuse muffled factory ambience hints at a distant lurking horror and a positive introduction to the project. Elsewhere Murderous Vision opens the compilation with a varied death industrial offering, including rolling tribal beat and ranted religious themed sample, while the shrill strings and garbled background noise of Abjection Ritual’s delivers a strong suspense feel, before descending into looped mechanical churn and fried static. The introductory floating drones of Shock Frontier’s piece takes it time in elevating to full blast furnace intensity, while Vitriol Gauge delivery a relatively straight forward but classic toned death industrial track of mid paced looped distortion, subdued static and agonized vocals which are smeared across the sonic spectrum. Compactor’s piece stands apart given the slightly cleaner sonic edge and heady atonal pounding structure, while Gnawed’s track is far more controlled and considered than typically would be expected, here with muted sub-orchestral drones, slow mechanical agitations and trademark treated vocals. Steel Hook Prostheses follows with their distinct brand of clinical tinged death industrial, but of note is the greater than normal reliance on underpinning synths. The Vomit Arsonist also delivers with a devastatingly bleak track of minimalist rhythmic structure and cavernous rumble, while Theologian concludes the album with heavily animated rhythmic driven thrum and moody wavering synths which is strong backing for the stylized half sung/ screamed vocals.
Although technically a CDr release, this is a pro-duplicated disc housed and mini-gatefold cover and if any of the featured acts of or interest, this compilation will be of absolute interest, ans absolutely a suitable document and memento of the Darkness Descends festival.
Murderous Vision – Voided Landscapes CD Live Bait Recording Foundation 2018
Voided Landscapes is the latest full length from American industrial underground stalwart Stephen Petrus who has been recording under this moniker for well over 20 years now, and whose output to date has broadly been categorized by the blurring of the lines between death industrial and dark ambient. Although not being quite sure as to exactly what number album this is, the project has issued in excess of 30 releases during the lengthy period of activity, so this album will certainly be somewhere into double figures.
Musically speaking the abstract industrial rumble and moody minimalist piano of album opening Purity Burns bodes extremely well, while also featuring nature-based field recordings of calm waves lapping at a shoreline and a chorus of seagull cries, which differentiates it from much of the material which has previously been issued under the Murderous Vision banner. The following track Radiate is the categorized by a static buzzing and blast furnace churn and features the first vocals which are heavily processed and agonized in their delivery, and certainly blood boiling and fist pumping overall. Again in a slightly different style, the instrumental Shifting Ash is low key and moody, featuring subtle bass addled drones, random industrial debris and sporadic rhythmic loops which elevate in prominence through the late section. The most deviating track of the entire album is Stale Earth Slumber given its minimalist martial industrial frame of reference, being structure around stoic kit percussion, deep orchestral melody and main spoken vocal, although truth be told it slightly jars the flow of the album given how stylistically different it is. After the quite musically varied first third, the album opts to settle down to a solid display of Murderous Vision’s take on a ‘mid-point’ sound between seething dark ambient and ominous death industrial. The pairing of Concussion and Empty Language both illustrate this strongly, while as the title might suggest Moss and Bone features source material of a more organic sound palate. Voided functions as a heavily layered swirling vortex of mechanized textures, while the final album track Corrosive Materials chooses to go out with heavy impact given its use of a fast paced, massively pounding industrial structures.
Nine tracks over 43 minutes displays a varied stylistic approach and composition, which is clearly rooted in the classic 1990’s era of dark ambient and death industrial, and this feeling is strongly on display, but also without being purposefully ‘retro’ in sonic expression. A 6 panel fold out digi-sleeve on matt card stock and with suitable imagery of urban decay rounds out the presentation of a very enjoyable, sonically varied underground post-industrial release.
Since 2016 the UK based NKT label has been the outlet for a small clutch of cassette releases from the aligned project Nokuit, where I personally became aware of both label and project via a 2017 release (reviewed here). Now the label has branched out to issue a new project Presidiomodelo which is a Siberian ritual ambient trio where the title of the tape Внутренняя Империя is then noted to translate to “Inner Empire”.
Being ancient and archaic in expression and execution, the single composition spans around 31 minutes of music in total, which is split across the two sides of the tape. Covering a wide variety of interlinked sonic moods and themes, the patter of rain provides a naturalistic setting from the outset, before droning mid-toned synths sweep into sonic frame, undercut with low key metallic scraping textures and other field recording elements, before settling down into a muted looped industrial rumble. Soon enough things evolve again with deep percussive thuds, ritual signing bowls, metallic chimes and atonal wailing of woodwind instruments, while heavily echoed treated vocals evoke a choir like effect and offset with more naturalistic elements grounds the mood in an earthbound perspective. While the mid-section it is categorized by animated and forceful cyclic drones, just a quickly the tone shifts off into varied segments of: fast paced ritual percussion; minimalist ritual chimes; sparse woodwind instrumentation; widescreen droning synths; churning bass toned thrum; while the pattering rain returns at the very end to close the loop.
On more than a few occasions I was reminded of the obscure French project Chöd and given the ritual ambient context of this release it is perhaps inevitable that a comparison to the Aural Hypnox Collective could also be made. Yet these comparisons should be read as a mark of quality, as this in no way feels to be copyist or derivative, given its own distinct compositional approach, and with at times a more muted industrial churn. Fold out multi-panel J-card with suitable archaic and ritualistic imagery rounds out the physical presentation, with a digital download also provided for good measure.
For background context Eidulon issued their debut CD Idolatriae on Malignant Records back in 2007, but then receded into the shadows for over a decade before returning to issue this second album. Although perhaps in truth there was not complete silence from the group following the debut, as in the intervening 11 year period contributions were made to a number of the respected Malignant Records/ Kalpamantra compilations between 2009 and 2018.
With reference to the first album, it was a quite minimalist and abstract take and experimental and industrial tinged dark ambient, Combustioni is an altogether different beast. Being a solid blend of sub-orchestral dark ambient, martial tinged industrial and apocalyptic neo-classical expression, Combustioni is varied in its sonic execution, which is perhaps partly explained by guest contributions on various tracks including: Nordvargr, Kammarheit, Naxal Protcol, Caul and Luca Soi. Specifically speaking, the guest vocals of Henrik Nordvargr Björkk are unmistakable on A Shimmer In The Void and The Hierarchy Of The Inner Planes, but perhaps coincidentally the backing music is not too dissimilar to Nordvargr’s last storming full length Metempsychosis, albeit more doomy and orchestral in execution here. Luca Soi also provides guest vocals on two tracks, with the first being on Grande Rosso which are in a croaked rasp more resembles an underground metal style, while the musical backing features towering orchestral brass horns and slow booming martial drums. Yet in a complete opposite form of vocal expression Luca’s vocals on Immanence are presented as clean sung and chanted, which is a standout element of the album and highlights yet further stylistic variation. Late album track Averni Flammas Transivi features contributions of Kammarheit which results in a droning soundscape which elevates to moments of shrill orchestral strings, while Stratificazione Settima concludes the album as an instrumental dark ambient offering containing muted sustained melodies and floating/ droning textures.
Not an overly long album at 42 minutes, it still packs a multitude of strong ideas in that run time. While the first CD was minimalistic in scope and sound, Combustioni is anything but, where the music is memorable with strong and rousing impact. To round out the physical presentation, the slick graphic design of the high gloss digi-pack includes stunning grey-toned imagery and full lyrics, which has been formatted to fold out into a Maltese Cross. A worthy release.